Patrick Park And The Polyphonic Spree

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Acoustic troubador and pop symphonic band converge on SF.

By Spence D.

Nothing like a good rainstorm to screw up public transportation in San Francisco.

Such was the scene on Thursday night, April 24 as I made my way out to the Great American Music Hall to catch Patrick Park opening up for The Polyphonic Spree. As is often the case, it didn't start raining until I stepped out of my front door. Needless to say, that gummed up my travel plans--it made catching a cab all the more harder.

But grab one I did and I got myself down to the venue by 9:20, just in time to walk in and catch the tail end of Patrick Park's acoustic set. Park, who was a lanky, tousled haired troubadour in a green and white striped rugby shirt was crooning a tune about getting f@#ked up. It was the perfect sonic accompaniment for the dreary, rain soaked night that was taking place outside the venue. As he finished up the song I walked in on Park commented, "All right, I got two more." Then he added "This is a request...this is for Jennifer." He then launched into another introspective number called "Caroline Goodbye."

Watching Park in the 1/2 full venue he seemed more suited for busking in a subway alley or strumming in a cozy coffee shop. Yet despite the oddness of him in this venue he commanded the stage with passionate, yet plaintive vocals and aggressive strumming. Park, upon ending "Caroline Goodbye," told the crowd "All right, this is my last song. Thank you very much. My name is Patrick Park." He then slipped into his final song of the evening, an upbeat acoustic honky-tonk number that had a group of obviously loyal PP followers up in the front of the crowd stomping their feet and clapping their hands. In fact, as Park left the stage following his last song around 9:32 these same fervent fans kept pounding the floor, demanding an encore. Alas, their demands were not met.

At 9:48 the second band on the bill, local SF group Knife and Fork, took the stage. A four piece consisting of a keyboardist, bassist, guitarist, and drummer they specialized in a down-tempo, almost somnambulistic brand of pop music. The lead singer, who started out on keys and eventually switched to bass, had a rich, yet monotone alto voice that sometimes reminded me of Annie Lennon on an off day. As for the band as a whole, they sounded like a weird mutation on Echo and the Bunnymen crossed with a morose, organ driven Throwing Muses.

- Spence D.

Patrick Park sings his heart out.

When the band added a flautist to the mix their vibe shifted to sound like aggressive forest music as if written and sung by badass wood nymphs. Soon they shifted into some dark, brooding twang that reminded me of the mid-80s band Glass Eye. Toward the end of their set they told the crowd "We're a new band. We've only played a few shows and we're fortunate to be here tonight." At this point in the show my buddy Mark turned to me and commented "There's enough music like this in life already. Do we really need more?" Needless to say, he was nonplussed by Knife and Fork. When I commented to my other buddy Tim that the lead singer sounded a bit like Grace Slick he replied, "I never liked Grace Slick." While I didn't dislike them, I do have to admit that I grew a bit tired of their slow, lumbering vibe after about 3 or four songs. They wrapped their set up around 10:33.

Then it was all about The Polyphonic Spree. Now I'd seen The Spree in Austin back in March and normally I don't make a habit of going to see a band more than once, but I was making an exception. The main reason I wanted to check out the Spree in San Francisco is that the band is a sprawling mini-symphony. When I caught then in Texas they had no less than 26 members on stage. Here in SF they were playing a venue that seats roughly about 600 people. I was really curious just how in the hell they were going to get 26 people crammed onto the small stage.

- Spence D.

Knife and Fork's drummer.

At 11:07 I saw how they did it. For starters The Spree was down to 22 folks for this gig. They had the bassist and guitarist standing on top of their monitors on the left and right side of the stage. They had crammed a small section of risers onto the corner of the stage to fit the choir. And miraculously they got a full drum set, a glockenspiel, kettledrums, a harp, and an organ all on stage. Speaking of which, the band gradually amassed on stage as an ecclesiastical organ riff filled the small hall.

For those not familiar with The Polyphonic Spree, they're sound is like Clouds Taste Metallic era Flaming Lips crossed with the cast of The Music Man, Jesus Christ Superstar, and Up With People. At the forefront of the massive ensemble is Tim DeLaughter, who looks (and to a certain extent acts) like the prodigal brother of Richard Simmons--DeLaughter has curly, unkempt hair and an excessive amount of bounding energy; he seems to be tirelessly happy, too.

- Spence D.

The Polyphonic Spree in all of their glory.

One thing I feel I should mention is that almost every face in the surprisingly un-unwieldy Polyphonic crew was recognizable. And I say this with all sincerity, too. Why? Because just about the entire ensemble had been out in the audience watching Parks and Knife and Fork. I recognized the drummer, several members of the choir as they had been standing next to me during the earlier portions of the evening. The only difference between how they looked out on the floor and up on stage was the requisite Polyphonic garment: a flowing, white robe (incidentally they were on sale at the merch table in the back of the venue for $30).

Anyway, back to the music. As the organ swelled, the choir belted out with "Ba-da-ba-da-ba-da-bums", encouraging the crowd to sing along, and DeLaughter thrust his hands into the air and mouthed the words "That's what I'm talking about!" By the time the Spree had slipped into the second song, the crowd was enthused and clapping uncontrollably to the rhythms and melodies. I honestly have to say at this point I was wishing I had whatever it was that they were on; the group is so jubilant and happy that it's almost scary. Not to mention that DeLaughter is a total cherubic spazz.